24 A FLOAT OF A COA SLIP OF A DRESS. I'M BUOYANT THIS EVENING If f appear to be floating it's no wonder A breeze of ch,ffon coverS-In its diaphanous way- the flowered shp dress. Polyester chiffon coat, nylon and rayon printed gown in jade green and white, 8 to 14 sizes $118. Fifth Avenue Shop. 611 Fifth Avenue New York] and all stores. Please add 1.25 for handling mati and phone orders sent beyond our regular delivery areas cY """0) . :: .000 I t- !. y. ." ,A !B flY ............. f"'^' ....- ." ß , ...."...JV , ",/ GOINGS ON ABOUT TOWN ØÞ , ert Fuest. (New Yorker; starting Nov. 17.) LAST OF THE MOBILE HOT-SHOTS (1970)-Based on a Tennessee Williams play, with James Co- burn, Lynn Redgrave, and Robert Hooks; di- rected by Sidney Lumet. (Sutton; Nov. 10.) THE LAST TYCOON-From the F. Scott Fitzgerald novel, with Robert De Niro, Tony Curtis, Robert Mitchum, Jeanne Moreau, Jack Nich- obon, and Donald Pleasence. Directed by Elia Kazan. (Cinema I; starting N ov. 17.) LOGAN'S RUN-A sci-fi fable, directed by Michael }\.nderson, which says that three centuries from now we shall be dwelling under opaque, hermetically sealed domes set down in the midst of devastation. Peter U stinov plays the only visible outside citizen, an old man living in the Capitol, surrounded by the refuse of the past (7/5/76) (Murray Hill; through Nov. 11.... (jJ 86th St. East, and Greenwich; through Nov. 16.) LONG DAY'S JOURNEY INTO NIGHT (1962)-The best film ever made from an O'Neill play, and it's O'Neill's greatest, most exalted play-one that takes an American family to mythic heights. Katharine Hepburn, Ralph Richardson, Jason Robards, and Dean Stock- well are the quartet. Sidney Lumet directed; Boris Kaufman did the cinematography. ( Sutton; Nov. 11.) LOVING CouslNs-A comedy, with Susan Player and Hugh Griffith, directed by Sergio Mar- tino. An Italian film, dubbed in English. (Trans-Lux 85th St.... (jJ Cinema Studio; through Nov. 16.) MAÎTRESSE- With Bulle Ogier and Gérard De- pardieu, directed by Barbet Schroeder. In French. (Baronet.) THE MAN WHO FELL TO EARTH-Nicolas Roeg di- rects a rather chilly, beautifully composed sci-fi picture about a cat-eyed man (David Bowie) who comes to earth from another planet in search of water for his drought- ridden world. Rip Torn is good as a burned- out professor of chemistry. (6/7/76) (Mur- ray Hill; through N ov. I I.) MARATHON MAN-William Goldman's book-a visceral thriller about a Nazi ring of thieves in N e\v York-seemed a lead-pipe cinch to make audiences almost sick with excitement (the way "The French Connection" did) ; it's "Death Wish" with a lone Jewish student (played by Dustin Hoffman) getting his own back from the Nazis. But the director, John Schlesinger, opts for so much frazzled cross- cutting that there isn't the clarity for sus- pense. The only emotion one is likely to feel is revulsion at the brutality and general un- pleasantness. With Laurence Olivier, Roy Scheider, and Marthe Keller. (10/11/76) (Loews Tower East.) THE MARQUISE OF 0 . . .-Eric Rohmer's word- for-word, gesture-for-gesture transcription of the [808 Heinrich von Kleist novella manages to miss the spirit just about completely. A bold, funny story becomes a formal, tame film-it's like a historical work recreated for educational television. Edith Clever is skilled and likable as the Marquise, but the droopy Bruno Ganz is miscast as the rapist Count. In German. (10/25/76) (68th St. Playhouse.) THE MATTEI AFFAIR (I973)-Francesco Rosi's film about a hero to the Italians who fights for control of the natural-gas reserves in the Po Valley. The picture, posing as Socialist, seems rather confused about the nature of monopoly. In Italian. (Carnegie Hall Cinema; Nov. 17.) A MATTER OF TIME-The romantic story, taken from Maurice Druon's novel "Film of Mem- ory" is about a peasant girl (Liza Minnelli) who gets a job as a maid in a Roman hotel. ,A.. contessa (Ingrid Bergman) who lives there was once a great demimondaine; she talks about her romantic adventures, and the maid visualizes herself living through the events. But the film has been mangled: the producers took it away from the director, Vincente Minnelli, shifted scenes around, cut others, and even added stock footage. The result ex- poses Liza Minnelli, in particular, to ridicule; however, though Ingrid Bergman's perform- ance has no rhythm left, Bergman herself is assured enough to do much of the role in statuesque repose, and she has a glamour be- yond anything she's had before onscreen. With Charles Bover and Isabella Rossellini. (11/1/76) (R.K.O. 59th St. Twin 1, R.K.O. 86th St. Twin 1, and Loews 83rd Triplex; starting Nov. 12.) THE MEMORY OF JUSTICE-Centering on the defini- tions of war crimes formulated at the N urem- berg Trials, Marcel Ophuls examines the .? I atrocities committed in Vietnam and other places; he attempts nothing les<:; than an in- vestigation of the nature of war guilt, and the film runs four hours and thirty-eight minutes Despite some remarkable footage, the film is chaotic, plodding, and excessively self-conscious. (10/11/76) (Beekman) THE MERRY WIDOW (1934)-Ernst Lubitsch brought style and spirit to this lavi<:;h M-G-M operetta, starring Maurice Chevalier and Jeanette MacDonald, and Gus Kahn and Lorenz Hart wrote new lyrics to the Franz Lehár music. (Theatre 80 St. Marks; N ov 14- 1 5.) THE MIDDLE OF THE WORLD (1975)-One of the best, most innovative films about the nature of passionate love to come out of Europe since ,. Scenes from a Marriage" and the pictures of Eric Rohmer. The hero (Philippe Léotard) is a married engineer who is being manipulated into becoming a local politician; the heroine (Olimpia Carlisi) is an Italian barmaid. Op- posites meet, and the film is a record of the two characters' ability to change. Lucid and thoughtful, shot in long takes without cuts Directed by Alain Tanner and written by him with the English art critic and novelist John Berger. In French. (3/31/75) (Embassy 72nd St.; starting Nov. 17.) MIDNIGHT COWBOY (1969)-Jon Voight as Joe Buck, the cowboy, and Dustin Hoffman as Ratso Rizzo-two lost, lonely men who find friendship. The John Schlesinger film is a brutal, superficial satire of America, but the actors take hold of one's emotions and one's imagination. From James Leo Herlihy's nov- el. (Gramercy; through Nov. 16.) MIDWAy-Henry Fonda, Charlton Heston, and Robert Mitchum in a noisy, flag-waving film, directed by Jack Smight, about a key Pacific maneuver of the Second World War. (Play- boy; through Nov. 16.) THE MYSTERY OF THE WAX MUSEUM (I 933)-Mar- vellously grisly chiller, directed by Michael Curtiz and shot in an early Technicolor process, with the color contributing heavily to the general creepiness Lionel Atwill is the murderous curator who pours hot wax over his manacled, still-living victims and then ex- hibits them as sculpture. With Glenda Far- rell, Fay Wray, Gavin Gordon, Frank Mc- Hugh, Edwin Maxwell, and Arthur Edmund Carewe. From a play by Charles S. Belden. (Remade in 1953 in 3-D as "House of Wax," and probably the source of the 1959 "A Bucket of Blood.") (Elgin; Nov. 18.) NAUGHTY MARIETTA (1935)-It's an atrocity. of course, and one of the most spoofed of all the Jeanette MacDonald-Nelson Eddy operet- tas, and yet it has vitality and a mad sort of appeal. When those two profiles come to- gether as they sing "Ah Sweet Mystery of Life," it's beyond camp, it's in a realm of its own. With Elsa Lanchester and Frank Mor- gan. vV S Van Dyke directed (Theatre 80 St. Marks; Nov. 14-15.) NETWORK- \Vith Faye Dunaway, William Hol- den, Peter Finch, and Robert Duvall; direct- ed by Sidney Lumet. (Sutton; starting N ov 14.) THE NEXT MAN-With Sean Connery and Cor- nelia Sharpe, directed by Richard C. Sarafian. (Reviewed in this issue.) (34th St. East, and Loews Ciné.) NORMAN. . . Is THAT You?-With Redd Foxx and Pearl Bailey, directed by George Schlat- ter. (86th St. East, Greenwich, and Loews 83rd Triplex; through Nov. 16.) THE PAINTED VEIL (I 934)-Richard Boleslawsky directs Garbo. The story is Maugham's, set in his own fantasized East-of-Suez; the script is pretty fearful, but Garbo works as \\iell as ever, dispensing immortal strength to Herbert Marshall as her husband and George Brent as her lover. She deserves as many men as she wants, you always feel, and could carry the male half of mankind on her yoke-shaped collarbone. (Quad Cinema: Nov. 11-13.) THE PAPER CHASE (1973)-Timothy Bottoms as a first-year law student at Harvard. and John Houseman as the professor he idolizes. Bot- toms meets the professor's daughter (Lindsay Wagner), who's derisive about everything, and he becomes confused about why he's studying. The picture, directed by James Bridges, tries to be thoughtful and provoca- tive, but it has nothing to say. (R.K.O. 59th St. Twin 2; Nov. 14-15.) PEOPLE OF THE WIND-- The year!) migration from winter to summer pastures by the Bakhtiaris of southern Iran James Mason is narrator.